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Sep 27, 2012 7:30pm PDT
. >> it seems to me that when you talk about this energy, and using the parts of your brain that no one uses usually, it seems to me that it reminds me a lot of tai chi masters that i've heard of who use chi gong, which is an energy also associated with the front; yogi masters, who can also use their aura and sense things, like finding the entrance to a maze. it seems to me that there are some very old traditions also that use these very same techniques. >> right. when houston smith came to the school to visit and see ramtha's teachings and see some of what was going on there, he said, "you know, this is not new age. this is very ancient teachings here." so you're right. i think there's threads of what we learn here in all of the great religions of the world. and i think also that there are specific things that are taught here that are not taught anywhere else, and that you can't find in the other religions. for example, the breath technique itself, it's not really one that has been found - the closest thing to it is hatha yoga, from what i understand from religious experts. and there i
Sep 24, 2012 7:30pm PDT
energy. sometimes you can only concentrate for so long. i guess this is for today. my husband is jeff kelley, art critic. and he really does his job, not just professionally in the art world, you know, but he does his job thoroughly, intensively at home. he criticize my work all the time. sometime i didn't even want him, you know, to give me feedback. he does anyway all the time. so, i think in general it has been very helpful, but sometimes it really can get on my nerves. well, criticism is a word that gets a bad rap. it usually implies, you know, that you're being judgmental rather than, uh, interested. and you are judgmental sometimes. true, but that's the boundary that sometimes you have to be careful about not crossing. i'm very interested in hung's work. i've seen it for 10 years. i see it closely and intimately and often. and, um, it's hard to know what to do except to be interested in it, and to like it, and to talk about it, and to throw in your two cents. and sometimes they get thrown back out. [ speaking chinese ] liu: i just started yesterday. today i work little bit, not
Oct 1, 2012 7:30pm PDT
, trying to see did we really have them level, because they seem to move and generate an energy of their own. and that comes from the bright colors and the unusual juxtapositions of these wild primary colors thrown right up against each other. to me, they're the visual equivalent of jazz. we see a lot of improvisation here. they're going in all different directions, but they make sense as a whole. it's just like jazz. there's a coherency and a consistency within the wildness. that's not to say there's not a lot of thought behind it. i think that people can make a real mistake at thinking what she's doing is random and haphazard. there's a random quality to it, but she thinks a lot about the relationships, even between little bits and pieces as they work together. but she's definitely thinking about the overall composition. [ metal clatters ] buchanan: when i started looking at this piece to start working on it some more, i was not happy with it. i was not happy at all with it. what made me not happy was the shape of the roof. i took a hammer, just kind of gave it a rampf -- rhaaaa!
Search Results 0 to 2 of about 3